Motta's work is known for his engagement with histories of queer culture and activism and for its insistence that the politics of sex and gender represent an opportunity to articulate definite positions against social and political injustice. Interested in queer autonomy and self-representation, Motta's projects question the social assimilation (or lack thereof) of queer issues into mainstream society by creating a context for the perspectives of many individuals and groups who fight against inherently discriminatory traditions and institutions.

Produced with funds from the Future Generation Art Prize, Patriots,Citizens, Lovers... (2015) was developed in conversation with Ukrainian journalist Maxim Ivanukha and is composed of ten urgent interviews with Ukrainian LGBTI and queer activists who discuss the critical and dire situation of lesbian, gay, trans and intersex lives in Ukraine in times of war.

Confronted with innumerable challenges, Ukrainian LGBTI citizens are vulnerable targets of a violent homophobic rhetoric and remain largely under-recognized in a context that deems sexual and gender issues minor in light of the serious Ukrainian economic and political crisis. Social invisibility, physical and psychological abuse, political violence, and a deeply patriarchal culture frame the context for the difficult work of LGBTI activists who denounce discrimination and demand the transformation of the system.

As a way of providing a historical and wider global context around queer discourses and culture for the Ukrainian public, the exhibition also presents Motta's installation We Who Feel Differently (2012), which includes thorough conversions with American, Colombian, Norwegian and South Korean LGBTI and queer academics, activists, artists, lawyers, medical doctors and others, about the development of international sexual of gender politics in the last forty years. Part archive, part documentary and part manifesto, this project is an important reflection on some of the most contested topics our times.

The exhibition “Motherland on Fire” offers one of views on the history of the Ukrainian society in the 1990s, narrated through a prism of selected works from the PinchukArtCentre collection. The title of the exhibition alludes to the film by Oleksandr Dovzhenko “Ukraine in Flames” which tells about the bloodshed that took place on the Ukrainian territory during World War II. However, the works presented in the exhibition do not relate in any way to military operations or the real frontline.